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Photographic 

Sciences 
Corporation 


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23  WEST  MAIN  STREET 

WEBSTER,  NY.  14580 

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CIHM/ICMH 

Microfiche 

Series. 


CIHM/ICMH 
Collection  de 
microfiches. 


Canadian  Institute  for  Historical  Microreproductions  /  Institut  Canadian  de  microreproductions  historiq 


ues 


Technical  and  Bibliographic  Notes/Notes  techniques  et  bibliographiques 


The  Institute  has  attempted  to  obtain  the  best 
original  copy  available  for  filming.  Features  of  this 
copy  which  may  be  bibliographically  unique, 
which  may  alter  any  of  the  images  in  the 
reproduction,  or  which  may  significantly  change 
the  usual  method  of  filming,  are  checked  below. 


L'Institut  a  microfilm^  le  meilleur  exemplaire 
qu'il  lui  a  6t6  possible  de  se  procurer.  Les  details 
de  cet  exemplaire  qui  sont  peut-Stre  uniques  du 
point  de  vue  bibliographique,  qui  peuvent  modifier 
une  image  reproduite,  ou  qui  peuvent  exiger  une 
modification  dans  la  mdthode  normale  de  filmage 
sont  indiqu^s  ci-dessous. 


0 


/ 1    Coloured  covers/ 
'    I    Couverture  de  couleur 


n 


D 


Covers  damaged/ 
Couverture  endommag^e 

Covers  restored  and/or  laminated/ 
Couverture  restaur^e  et/ou  pelliculde 

Cover  title  missing/ 

Le  titre  de  couverture  manque 

Coloured  maps/ 

Cartes  geographiques  en  couleur 

Coloured  ink  (i.e.  other  than  blue  or  black)/ 
Encre  de  couleur  (i.e.  autre  que  bleue  ou  noire) 

Coloured  plates  and/or  illustrations/ 
Planches  et/ou  illustrations  en  couleur 

Bound  with  other  material/ 
Reli§  avec  d'autres  documents 

Tight  binding  may  cause  shadows  or  distortion 
along  interior  margin/ 

Lareliure  serree  peut  causer  de  I'ombre  ou  de  la 
distortion  le  long  de  la  marge  intdrieure 

Blank  leaves  added  during  restoration  may 
appear  within  the  text.  Whenever  possible,  these 
have  been  omitted  from  filming/ 
II  se  peut  que  certaines  pages  blanches  ajoutdes 
lors  d'une  restauration  apparaissent  dans  le  texte, 
mais,  lorsque  cela  etait  possible,  ces  pages  n'ont 
pas  et6  film^es. 


D 
D 
□ 

D 

7 


D 
D 
D 

n 


Coloured  pages/ 
Pages  de  couleur 

Pages  damaged/ 
Pages  endommagdes 

Pages  restored  and/or  laminated/ 
Pages  restaurdes  et/ou  pelliculdes 

Pages  discoloured,  stained  or  foxed/ 
Pages  d6color6es,  tachet§es  ou  piqu^es 

Pages  detached/ 
Pages  ddtach^es 

Showthrough/ 
Transparence 

Quality  of  print  varies/ 
Qualitd  in^gale  de  I'impression 

Includes  supplementary  material/ 
Comprend  du  matdriel  supplementaire 

Only  edition  available/ 
Seule  Edition  disponible 

Pages  wholly  or  partially  obscured  by  errata 
slips,  tissues,  etc.,  have  been  rtfilmed  to 
ensure  the  best  possible  image/ 
Les  pages  totalement  ou  partiellement 
obscurcies  par  un  feuillet  d'errata,  une  pelure, 
etc.,  ont  6t6  filmdes  d  nouveau  de  fa9on  d 
obtenir  la  meilleure  image  possible. 


D 


Additional  comments:/ 
Commentaires  suppl^mentaires; 


This  item  is  filmed  at  the  reduction  ratio  checked  below/ 

Ce  document  est  filmd  au  taux  de  reduction  indiqud  ci-dessous. 

10X  14X  18X  22X 


26X 


SOX 


y 


12X 


16X 


20X 


24X 


28X 


32X 


ilaire 
IS  details 
ques  du 
it  modifier 
(iger  une 
le  filmage 


The  copy  filmed  here  has  been  reproduced  thanks 
to  the  generosity  of: 

Harold  Campbell  Vaughan  Memorial  Library 
Acadia  University 


The  images  appearing  here  are  the  best  quality 
possible  considering  the  condition  and  legibility 
of  the  original  copy  and  in  keeping  with  the 
filming  contract  specifications. 


L'exemplaire  fiimd  fut  reproduit  grSce  d  la 
g^ndrositd  de: 

Harold  Campbell  Vaughan  Memorial  Library 
Acadia  University 


Les  images  suivantes  ont  6t6  reproo'jites  avec  le 
plus  grand  soin,  compte  tenu  de  la  condition  et 
de  la  nettetd  de  l'exemplaire  film6,  et  en 
conformity  avec  les  conditions  du  contrat  de 
filmage. 


|u6es 


Original  copies  in  printed  paper  covers  are  filmed 
beginning  v.ith  the  front  cover  and  ending  on 
the  last  page  with  a  printed  or  illustrated  impres- 
sion, or  the  back  cover  when  appropriate.  All 
other  original  copies  are  filmed  beginning  on  the 
first  page  with  a  printed  or  illustrated  impres- 
sion, and  ending  on  the  last  page  with  a  printed 
or  illustrated  impression. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol  ^^  (meaning  "CON- 
TINUED"), or  the  symbol  V  (meaning  "END"), 
whichever  applies. 


Les  exemplaires  originaux  dont  la  couverture  en 
papier  est  imprimde  sont  film^s  en  commenpant 
par  le  premier  plat  et  en  terminant  soit  par  la 
dernidre  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration,  soit  par  le  second 
plat,  selon  le  cas.  Tous  les  autres  exemplaires 
originaux  sont  film^s  en  commenqant  par  la 
premiere  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration  et  en  terminant  r^r 
la  dernidre  page  qui  comporte  une  telle 
empreinte. 

Un  des  symboles  suivants  apparaitra  sur  la 
dernidre  image  de  chaque  microfiche,  selon  le 
cas:  le  symbole  ^^  signifie  "A  SUIVRE",  le 
symbole  V  signifie  "FIN". 


lire 


Maps,  plates,  charts,  etc.,  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


Les  cartes,  planches,  tableaux,  etc.,  peuvent  etre 
film6s  d  des  taux  de  reduction  diff6rents. 
Lorsque  le  document  est  trop  grand  pour  Stre 
reproduit  en  un  seul  cliche,  il  est  film^  d  partir 
de  Tangle  supdrieur  gauche,  de  gauche  d  droite, 
et  de  haut  en  bas,  en  prenant  le  nombre 
d'images  ndcessaire.  Les  diagrammes  suivants 
illustrent  la  m^thode. 


}y  errata 
ed  to 

ent 

jne  pelure, 

apon  d 


1 

2 

3 

1 

2 

3 

4 

5 

6 

32X 


CLASSIC  ART: 


X] 


AN   KXI'OXI'.NT  dl" 


R  EZ  L_  I  O  i  O  l_J  ei        G  F:  N!  "T  !  M  E=^  N  ~r. 


A    LECTURE 

I)i;mvkhi:ii   i-.i;i'(u;i:    nil 

.\ L r >r N I   S( )CIET Y    ( )F    ALliE]  T    I  XJAJ :ilSJ T V 

I!  r.  i.T.  i'.vi  I.  i.i;     (»NTA.i;r<).    canai  .s. 

i-.v 

IlKNRY  TAYLOR,  LI..1). 


NEE\A/       \-Ol=^^.  ■■ 

(ill I ; A  'V   A  M E II I c A N   r H  r n t I n ( i   ( ; () :\i P a n  \ 

:il    Hkkkman    STiiKivr. 


A 

•T3 


/ 


■( 


•I 


A  J. I 


(ill 


CLASSIC  AirF: 


AN    KXI'ONKXT  OF 


RELIGIOUS      SE:N-riMEN"r_ 


A   LECTURE 

]>i'i.ivi;i;i:i)  r.i'.i'oui:  Tin: 

ALUI\rNI   SOCIETY   OF   ALBERT    rXTYEIlSI  PY, 

i !  !■:  r.  L  ]•:  \  i  l  l  !•: .    ( )  x  t  a  u  i  ( ) ,   v\  x  a  i  )  a  . 

BY 

iri<:NRY  TAYLOR,  LL.l). 


NENA/       VORK  ; 
(J  111:  AT    AMEUTCAN    THIN  TING    COMPANV 

31    Jjekkman   Stukkt. 

1875. 


r) 


CLASSIC    ART 


AN     EXPONENT 


or 


T^mi^LCJrlOU^       fe>II5JNI'±'XJS/Ll£JKrT. 


Ill  nlH.(Ii(nicM>  to  st)iuc  iiiystvrious  law,  the  mind  is 
.stiniiilutod  to  ivli^'ious  devotion  by  the  contcmplHtion  ol" 
wli.ilcvcr  is  beautiful  iu  the  realuis  of  the  nutuial  or  the 
ideal. 

It  is  the  proviiioo  of  Art  to  ivproduoo  those  forms  and 
(•"lors  u-hich  attract  an.l  impress  the  mind,  and,  iu  so 
(loiii^.  it  becomes  the  exponent  of  reli-ious  sentiment. 
M.  Cousin  says  "the  end  of  Art  is  the  expression  of 
uioral  l)(>antyby  the  aid  of  physical  l)eautv  ;  that  moral 
beauty  is  the  fouu.latiou  of  physical  beauty,  and  this 
foundation  is  covt^red  or  veiled  iii  nature." 

Th.^  ancients  who  worshiped  th(>  li,.a,ven!v  bodies 
were  attracted  l.y  tju^ir  beauty;  the  tire-worshipers  saw 
111  the  -old.M.  Ihime  a  beauty  which  they  mistook  for  th.' 
presence  of  C^ul.  The  poetic  imat^ery  of  the  Bible,  and 
the  pageantry   of  the  Jewish   worship,  are  i-rooT^that 


^^7^.6 


l»c!uity  is  iin  rlcnnoiit  oi  nlif^ioii.     TIu'  closiiin;  jxi^rs  of 

tlir  Nrw  Tcstfllllt'lit  represent  I[e;i\eli  as  l)eili}^'  lulonied 
with  oltjects  of  siupassiii';  lieaiitv  ;  a  city  whose  walls 
lire  j^ariiishetl  with  i)ri'c'ious  stones,  hnviii<4  ^^ates  of 
potirls,  streets  of  ptM,  ami  watt  is  like  eiystal.  Nature 
hears  testimony  to  the  saiui'  purport.  The  earth  may 
1)0  rej^'ai'ded  a  {^'reat  museum  tilhnl  with  pictuies  ami 
statues  ;  forms  of  evijuisite  ilesign  ami  colors  of  the  most 
pleasin<4  hue. 

'J'here  exists  more  of  heauty  than  utility.  Beauty 
attrai'ts  the  miml  with  tho  j)ower  of  the  maj^iiet  for  the 
needle— it  is  a  ;;•  ntle  l)ut  ]»otent  inlhuMKie  Avhieh  alhut's 
us  finm  ;4rovellin}^  thouj,'hts  and  passi(jns  and  lifts  ns  up 
to  Him  wliosi'  wisdom  and  j^'oo  Incss  are  relleeted  in 
eveiy  form  of  ;;rai'e  and  every  line  of  Ijeauty. 

To  see  (iod  in  tlu^  heautiful  is  not  Pantheism  unless 
the  shadow  he  mistaken  for  the  suhstaiu-e.  I'e.'iutv  is 
not  (iod;  it  is  only  His  rellection,  and,  like,  llim,  it  i.s 
everywhere!.  Where  can  the  eve  rest,  or  tho  mind  w;;n- 
(U'r,  that  lieauty  may  not  he  fountlV  We  see  it  in  the 
sparkling-  dewdrop  and  in  the  ^litteriu^  <^'em  ;  in  the 
emerald  li'af  and  in  the  crimson  rose.  AVo  .see  it  in  the 
mountain  slo])e  that  carves  in  grueeful  outline  the  distant 
lioii/on,  and  in  the  i^n^en  drapery  that  mantles  the  un- 
[lulatiii^  l»laiu.  We  see  it  in  tho  li^Mds  and  shadows 
that  Hit  across  tlu^  landscajie,  and  in  tho  tlei^cy  clouds 
that  lloat  in  the  sky.  We  .see  it  in  tho  rainbow  that 
spans  tln^  hosom  of  the  tinnanient  like  tho  baldric  of  a 
,1^0(1,  and  in  tho  stars  that  f^'leam  like  diamonds  from  the 
chand'ers  of  space.  iJeaiity  is  onuiijiresent  like  Clod  ;  it 
!j;litters  in  the  smallest  crystal  as  well  as  in  the  mij^ht- 
iest  orl> — it  is  ;i  revelation  of  (Iod. 


th.l 


i)t'iii^'  ikIoiikmI 
1  wlinsc  walls 
ill^  ^'iltcs  of 
still.  Natiiro 
he  cai'lli  may 
pic'tuii's  and 
L"S  of  tlic;  ijioist 

ity.  Ci'auly 
apit't  f(»r  tlic 
iviiicli  allures 
ul  lifts  us  u|> 

Irllcctcd    ill 

lioism  unless 

i.      In'Miity  is 

wo   lliui,  it  is 

I'   mind  \v;:u- 

i(U!  it  in  tli(! 

;<'iu  ;    in  till! 

SCI'  it  in  tlici 

'  till-  distant 

itlrs  tlir  un- 

iid    sliaddws 

cci'y  clouds 

linliow  that 

laldiif  {}(  a 

Is  iVdUi   the 

ki^'  Ci(»(l  ;  it 

tlic'  niiglit- 


'l'li(<»|n;^\  niakcs  ut)  daniaj^in^  admission  in  I'lini'rdiM;^ 
that  (lod  iTvrals  Hini'^rlf  t<>  Us  l>y  forms  of  lirauty ;  tliat 
all  hraiity  is  a  rrllii'ti<>n  of  Jlim,  and  that  physical 
lirautv  is  ji  symliol  df  moral  brauty.  Jiut  what  is  this 
i|ualit\  wliii'h  \\f  call  lu'uuty  which  is  so  cl()i|ncnt  in 
nnn'al  lessons,  and  to  which  Art  nwi  s  its  oi-ij^in  as  well 
as  its  j^'raml  results?  IMiilos(i|ihy  has  nosohitinn  of  the 
l)rol>lem.  'I'iie  Cireelv^,  ulin  made  the  heautifiil  theii' 
chief  study,  were  unalile  to  ti\  its  conditions  or  formulate 
its  attrilmtes.  Socrates  contented  himself  li\  |>ointiM;4 
out  swell  thinj^s  as  |iid(hice  jtleasiire  rather  than  pain, 
while  his  disciples  named  woman  as  its  liest  type,  and 
claiiiied  that  upon  her  ii;dure  hid  hestowi'd  a  lar|^e 
proportion  of  all  heauty.  I'lato  was  nu)re  lacmiic,  Itiit 
e((uallv  \aL;ue  in  delinin^  it,  as  consistiiii^'  in  "unity 
and  variety."  All  philosopher.s  have  found  the  same 
tlillicully.  Proclus  concluded  that  lieauty  was  not  the 
siil'ject  of  analysis,  for  it  "  swims  on  the  lii^ht  of  forms." 
Ihid  was  more  classic  in  coiicludinji;  that  heaiity  is  a 
tjualitv  of  the  cii'cle  not  dcnionstrahle  Kv  process  of 
I'easonin^.  liuskiii  ipiaintly  asserts  "why  some  forms 
and  coloi's  are  Iteaiitiful,  is  as  unknown  as  why  sii;^ar  is 
sweet  or  Wormwood  liitter."  Emerson  concludes  that 
heiuLT  warned  liy  the  ill  fate  of  many  philosophers  he 
will  not  attompt  a  detinition  of  heauty.  \\'liate\er 
ditliciilty  may  be  expeiit'iiced  in  solvin;^  the  probleiu 
or  dttinimi;  the  attributes  of  this  mystei-ious  (juality  we 
instantly  recot,'nizo  its  existence  wherever  it  reveals 
itself  to  oiir  >(  uses,  and  consciously  experiunct'  an  eleva- 
tion of  our  moral  natures. 

IJeauty    is    a    visible    symbol    of    ;i    thouf^ht    of    (hnl. 
Alt,  by  its  muUi[iliiHl  duvicus,  reproduc(i8  that  thought, 


0 


iiinl    becomes   at    once   the    |)roi)liet    anil    ixpoiient   of 
rcli>4ions  snitiiiu'iit. 

Wherever  mun  lias  betni  I'oiiud  grciping  after  tlie 
s}»irituiil,  and  yearning  for  a  revehition  of  the  Infinite, 
Art  has  also  been  founil  in  sacerdotal  robes  olKciating 
at  the  altars  of  religion.  This  was  true  with  the  ancient 
Assyrians,  Babylonians  r.nd  Egyptians,  Init  especially 
with  the  Greeks  and  liunians.  Art  constructed  and 
decorated  their  tt  niples,  anil  furnished  them  with  symbols 
of  worshij).  Hebrew  history  also  furnishes  iis  with  a 
bti'ilLJng  example  of  the  li-ndency  in  the  human  mind  to 
avail  itself  of  the  aid  of  Art  in  religious  devotion.  That 
favored  peujile  had  l>een  visited  by  angels,  and  pro])hets 
!.:id  delartnl  to  ilicm  the  i)uiposes  of  the  Almighty. 
It  would  seem  that  they  needed  no  symbols  to  strengthen 
dieir  faith  or  inspire  their  devotion  ;  bui,  in  full  view  of 
the  I'loud  which  enveloited  tlu'ir  ( iod  and  tluM'r  prophet, 
in  sight  and  hearing  '  i  the  lightning  and  thunder  which 
emanated  from  that  august  [>resence,  Ar<  formed  in  its 
erucible  the  golden  calf,  and  sat  it  uj)  annd  the  acclama- 
tions of  the  j)eo])lt\ 

The  religion  of  the  (beeks  owed  its  ])aternity  and 
l)owcr  in  large  measure  to  the  creations  of  Art.  Beauty 
was  thought  to  be  the  gian»K'>t  manifest;'tiou  of  Divine 
thought  and  wisdom,  and  as  a  sequeueu  became  the 
subject  of  worshi[). 

The  Crreek  ]ihilosophers  determined  that  curves  and 
cn'cK;s  Were  more  graceful  than  angh's;  that  cones  and 
s])heres  were  more  pleasing  than  cubes,  ami  that  a 
lijcnding  of  these  lines  with  syjiimetry  of  parts  consti- 
tuted the  very  acme  of  the  IxiaiitifuL  Tin'  human  form 
Was  found  to  endiody  all   these  conditions,  and  was  se- 


ujid    f'xpoueut   of 

groping    after    tlic 
LOU  of  the  Iiilinite, 
nl  robes  ofKciatiiij-- 
lie  with  tlie  ancient 
ns,  but   e.si)eeialh- 
t   constructed    and 
them  with  symbols 
u-nislies  us  with  a 
ie  Jiuniau  mind  to 
IS  devoti(m.     That 
j;els,  and  pr()])hets 
of   the   Aijiiio;lity. 
bols  to  stivngtheu 
nn,  in  full  view  of 
lid  their  propliet, 
id  tjiunder  which 
Ar<  formed  in  its 
mid  the  acclama- 

ts   ])ati'riiity  and 

of  Art.     Jieauty 

station  of  JJivine 

ncu    became    the 

that  curves  and 
;  iliat  colics  anil 
't'^,  and  that  a 
<'t'  pa)'ts  coHsti- 
Ik'  iuiman  form 
'ns,  and  was  se- 


lected as  the  higliest  physical  (-xpr.    .am  and  most  ap- 
propriate  Kynd)ol  of  Divinity. 

Ill  this  conclusion  the  Greeks  arrived  at  the  samo 
truth  that  had  been  revealed  to  the  Hebrew  chrouich'r 
that  man  was  made  in  tlie  imago  and  likeness  of  his 
(•iv.'itor— a  conclasion  which  we  regard  as  the  result  of 
a'sfh.'ticcuUure;  but  may  it  not  have  been  a  revelation 
to  tliem  ■? 

We  art>  inclined  to  the  ])ehef  that  poets  are  inspired; 
ti  at  I)ant<.s  Divine  Gmiedy,  Milton's  Paradis.'  Lost,  and' 
.Shaks|)caiv"s  dramas,  are  more  than  tlie  inspirations  (,f 
the  Musis  :  are  th.  y  not  tiic  inspirations  of  God  ?     xM^'v 
not   that   illustrious  ].(o])I;v  have  enjoyed,  in  some  small 
ni'Msine,  that  Divine  h',tr],t  which  impresses  rather   th;oi 
ov.M  whelms  man  in  his  groj.iuo- after  the  unknowable  and 
intinite  ?     AVhat  do  we  hazard  in  admitting  that  tlie  wor- 
ship of  the  iM.autibd  was  iiie  rtsult  of  a  twilij,^ht  inspira- 
tii-n?    or,    would  it    be    more    orthodox  to  account    Ibr 
this    phenoni.Mion    by    tin;  accidents    of   their    hisbMv? 
No  peopl,.  wt're  ever  more  favorai)lv  situated  foi'  cuiti- 
vatin-  a  taste  for  the  beautiful.     TheV  inhabited  a  -ronp 
"f  nnnantic  islands;  their  skies  were  cloudless,  and'th.  ir 
cliiuate    sweetened  by  aromatic    bree/es.      Legend  and 
fable  'ehlcd  their  cliMrm   to  i'v,'vy  prospect.     On  the  one 
hand,    was   Olvmpns,   the    throm'    of  the    gods,  and  on 
tlu^    other    Parnassus,   th,-    shrine    of    the    Muses.     All 
n:itnrew;is  clothed  with    imperial   lovcdiiu'ss,  and   rM^yy- 
when-  glittered  the  beautiful  creations  of  Art  an.l  Arelii- 
tectuiv.      rjM,n  all   this  sceiu-  of  n-h,ry  an.l  beautv  shone 
the  -golden  ravs  of  a  lenrpcnde  siui  and  the  silv.'ry  light 
ol  ;i  cli  ludless  moon. 


8 


Tlii'i'f  every  t'oi'm  of  niitiiro's  loveliness 
\Vul<(s  in  tile  breast,  a  tlioiisaiid  sympathies 


h 


I  iiinrn 


rich  tiriiiaiiient  sereiielv  bright, 


Or  settiiij''  suns 


til 


pvelv  sliori'  sulVuso 


With  al!  the  i)ur])le  mellowness  of  light  : 

()  who  could  view  the  sceiu,'  so  fair. 

Nor  dream  that  joy  and  iieace  and  liberty  were  there 


Such 


Gi 


the   abode   of   the   beautiful — tlic 


haoli   was   Ltreece, 
ci'iulk^  of  the  arts. 

Witliout  iiis])iraiioii,  Nature  wits  tlie  only  volume 
that  spoke  of  Divinity.  She  was  atiiuiati'  with  life, 
r(>velliii}4  in  stHluetive  cJiarnis  and  full  of  intelligent 
(lesion.  Heri!  was  Ciotl  basking  in  the  sunsliine  and 
i.-inguisliing  in  the  l>eauties  of  form  and  eolor.  The 
inco)ii|>rcliensil)l((  [tresence  was  everywhere  concealed, 
yet  in  cvcrtliing  reveah'd.  In  the  mirrored  lak(%  in  the 
]im|)id  ^Irr.ini,  in  the  smiling  latidscape,  in  tlie  towering 
mountain,  in  the  fh'ecy  cloud,  in  the  vaulted  sky,  in  the 
golijcn  orb  of  day,  and  in  the  myriads  of  eternal  eyes 
tiint  gaxcd  down  from  tiie  Jiea^-ens. 

It  was  tlie  ju'ovince  of  philoso])hy  to  analy/e  Natni'e, 
to  extort  Jier  secrets  and  determine  her  forces;  but  it 
was  tin  prerogative  of  Art  to  re])roduce  her  nobh'  forms, 
which  \vere  (>agerly  sei/e<l  upon  as  s^'mbols  of  worsliip. 
These  symbols  were  designed  to  represent  the  invisible 
attiibutes  and  operations  of  the  Deity,  in  the  physical 
as  well  as  tlie  moral  governnuint  of  the  universes 

If  phih)so])hy  and  Art  becaiu(^  allies  in  conceiving  and 
evolving  the  Greek  mythology,  the  result  fully  justitii^I 
the  compact.  They  were  lik(>  light  and  heat  in  d(n'eloj)- 
ing  the  i)lant  and  tlower.  Under  their  united  intluenc(! 
mythology   became    a   .system    of   ethics,  founded    upon 


])hil< 
timeil 


tl 


)[  nd 


Si 


■ntii 
'■ran( 


-'M<!1'> 


9 


■re  thfix' !" 

uautifnl — the 

only  voluiuc 
tc  with  lit'(>, 
)f  intelligent 
uusliiue    iiiiil 

eolof.  The 
e    coiiceiilcd, 

hike,  in  tho 
the  towerinj^ 
I  sky,  in  tho 

et(.:rniil  eves 

lyze  Nature, 
rees  ;  1»ut  it 
nolile  forms, 

of  worshii). 
he  invisilile 
lit;  physical 
[rse. 

|ieeivin,u  and 
^lly  justitied 

in  (h^veloj)- 
id  inthu;n('(! 
Inded    upon 


])hili)sophieaI  ]niii('i])les,  and  onibellisluMl  by  poetic  sen- 
tiuKMit  and  imagery.  "  Beneath  all  the  pa^an  lej^ends  of 
the  gods,  and  underlying  all  the  *olaboi'ate  mechanism 
of  111}  tliolog.t'al  worship,  there  are  mKjUcstionably  jihilo- 
sophical  i(h'as,  theological  conceptions,  and  religious 
sentiments,  which  gave  a  meaning  and  even  a  mournful 
gijuideur  to  the  whole." 

Art  was  the  vitalizing  ])riuciple  that  gave  mythology 
life  and  influence.  Its  jiower  was  litly  illustrated  by  the 
legend  of  ()i'i)lieus  charming  the  ti'ees  and  wild  beasts 
with  the  nnisic  of  his  lyre.  Tlu^  idea  cloaked  untU'r  this 
imagery,  says  a  popular  author,  is  the  ]>ower  of  cuhure 
that  conies  through  the  tine  arts  influencing  men  frtMu 
childhood  to  old  age. 

What  fountains  of  wisdom  wcro  opened  u])  by  the 
genius  of  Grecian  Art,  whose  waters  have  tlowt'd  down 
through  the  ages  as  fresh  and  sparkling  as  though  they 
had  llieir  (U'igin  from  beneath  the  throne  of  God  ! 

The  Muses  almost  exhausted  their  ius])iration  with 
this  gifted  })eople.  Homer  was  the  fatln'r  of  r\)\c 
pot  t)y,  as  Pin  iar  was  of  the  lyric,  and  ^Eschylus  of 
the  diMniatir.  They  discovert.'d  tlui  wondrous  potency  of 
nuisic,  and  b\  it  wei'e  dissolvetl  into  tende'rness  and  eli'- 


vate.l 


<)\\  mspu'Ci 


1  tol 


ove  an( 


I  intl; 


ime 


I  witl 


1  e'oui'aure 


Thi'V  wi  re  also  familiar  with  the  magic  powers  of  the 
painter's  brusli ;  liut  the  channel  through  which  Grecian 
Art  especially  Howed,  and  where  it  achieved  its  grandest 
results,  was  sciiljituri',  the  admiration  for  which  tilled  the 
jiopuli.r  mint'  with  a'sthetic  charms  ami  religiou.s  enthu- 


siasm. 


Tt  is  a  phenomenon  in  nu'taphysics  that  sentiment  be- 
imes  contagious:    the  bent  and   purpose  (jf   one  mind 


10 


ol'tc'ii  I'l'ihius  ;iu(l  controls  llic  million.  I\>tov  tliu  lii'i'Uiit 
infl;iMi(Ml  Jill  Europe  with  martial  lu-roism  and  iiiau^u- 
ratrd  the  Crusades.  Phideus  and  Praxittdes  inspired 
tlic  (irci'ks  wilii  a  belief  that  man  had  the  form  of  a  god, 
and  that  that  form  contained  all  that  was  beautiful  in 
design.  Tliat  no  vocation  was  so  dign'tied,  or  art  s<i  no- 
l»Ie  as  that  which  studied  and  reproduced  the  liumau 
i\)rm.  The  Greeks  became  a  nation  of  sculi)tors.  Pliny 
savs  Lycipi'us  was  the  author  of  tifteen  hundred  works 
iu  sculpture  ;  that  there  were  three  thousand  statues  in 
Ixlioilt's,  lis  many  in  Athens,  ()lymj)Us  and  Del[)hi.  [f 
four  cilics  contained  twelve  tiiousaud  statues,  how  many 
nmst  thei'e  have  b'cn  in  all  the  cities  and  hamlets  of 
Gri'cce?  'I'hey  hhid  the  temples  ami  market-places — 
till y  clustered  about  the  fountains  and  along  the  margins 
of  rivei's  and  seas — tliey  st(/od  like  armies  in  the  valhivs, 
and  Were  niched  in  colo-.sal  i)ro])ortions  in  the  mountain 
sides.  Public  sentiniciit  tolcrati'd  nothing  but  the  high- 
est Art,  and,  as  a  '•onsc(|uenc(',  thest."  statues  wer(^  mar- 
vels of  bf.mty  and  power.  To  prtnbico  such  results? 
esjx'cial  ])rt^])aration  was  recinired. 

The  Greeks  in  then'  early  history  were  like  other 
nations  —  stalwai't  men  and  lusty  women  were  the  ex- 
ce])ti!>u  and  not  the  rule.  There  were  few  men  liko 
Achilles  or  Ajax,  and  fewer  women  like  Ariadne  or  Diana. 

They  rei[un-ed  models  for  imitation,  for  they  believed 
to  prodnee  a  statue  of  any  juerit  was  to  copy  a  living 
nioilel.  With  the  Greeks  the  highest  Art  was  the  best 
imitation  of  Nature.  As  truth  should  precede  its  syml)ol, 
tlii're  should  th'st  be  tuiely  d<*velo])ed  men  and  woinen, 
and  then  statui's  of  brass  and  marble  t<i  i-(>preseid  them. 
Tiuy  em])loyedallthe  aids  of  physical  culture  to  p)-oduce 


11 


iter  tlio  licrinit 
and    iiiau^u- 
t(»l(\s    iuspiriHl 
foi'iii  of  a  ^od, 
IS  bt'antiful  in 
,  or  art  so  iio- 
(1   the  liuniiiu 
Iptors.     Pliny 
utulred  works 
ind  statues  in 
d  D(>l[)]ii.     If 
cs,  iiow  many 
id   hamlets  of 
irkot-jiliicos — 
^  tli(>  m;ir,^iiis 
n  the  valleys, 
tli(>  moiintuiu 
but  tlio  hif^li- 
les  were  mai- 
sucli  results) 

■e  lik(>  (ttlier 
were  the  ex- 
'ew  men  liko 
lue  or  Diana, 
they  hehevod 
!opy  a  livinfj; 
was  tin'  l)est 
le  its  svmhol, 
I  and  wonuMi, 
m'S(>nt  tlie]ii. 
re  to  ]n-oducu 


the  roujidod  limb  and  symmetrical  form,  and,  ns  r> 
cons('(jnenee,  ni  creatin;;  beautifid  statues  from  living 
models,  (rreek  artists  have  never  been  excelled.  Heneo 
the  i)r<)verbof  the  eeuturies,  that  "  any  statue,  however 
artistir,  may  vet  nreivc!  from  Phidias  aud  Praxibdes 
niany  touches  and  linislu'S." 

With  the  Greeks,  the  Art  of  Sculpture  was  the  domi- 
nant passion  as  it  was  tli(!  i>owerful  medium  of  controllinff 
the  mind  and  heart.  It  was  the  f,'reat  pro))het  and 
teach,  r  of  their  religion.  Without  it,  mytholo^'y  would 
have  been  but  a  catalogue  of  mystic  names,  passionless 
and  powerless. 

It  was  a  i^otent  argument  to  point  to  the  niystt'iious 
beauty  of  form  and  (•o)iclude  that  such  was  the  lumdi- 
woi'k  of  the  gods;  it  was  e(iually  potent  to  cuvvo  those 
gods  i]i  marble,  and  associate  with  tlu'm  their  respective 
attribut<'s  and  authority. 

The  Greeks  wi-rii  Polytheists  ;  they  had  gods  many. 
To  each  they  assigned  some  special  de])artm(^iit  i)f 
Nature  iuvolvhig  s.mie  human  interest,  and,  as  such, 
they  were  worsliiped.  Those-  who  went  down  to  the  sea 
in  ships  and  did  business  in  great  waters  were  pointed 
to  Nei)tuno  as  the  god  who  hold  their  destinies  in  his 
hand.  Ceres  was  worshiped  as  the  goddess  of  tht^ 
iiarvest,  and  Bacchus  as  the  god  of  the  vhitago.  Zms 
was  till-  go<l  of  the  skies  aud  scut  the  rain  upon  the 
|)arched  (%'irth. 

The  whole  family  of  gods  were  reprosontod  by  statues 
produci'd  in  the  highest  order  of  Art.  The  wealth  of 
geidus  expended  ii\um  thes(>  sbitues  hivestcd  them  with 
marvellous  attractions;  their  form  and  expression  conr- 
pelled    a    belief  in   tlu!  Divinity   that  was   supposed   to 


12 


slniii])f')'  l)oni'atli  tho  siirfaen  of  tlic  niarblo.  A  |:;iiiii)>>^o 
>ui  rely  (Ictcctcd  beyond  Uio  ]H'isoiial  form  in  a  soit  of 
half  li^ht  tliu  pliysical  or  moral  power  of  wliicli  ilio 
(igiin;  was  only  tlic  symbol. 

Ijt'l^cnd  s))road  lier  golden  canopy  over  tlu^  family  of 
i!,'»ds,  and  linnp  her  p;arland  of  jiearls  around  the  neck 
of    each.      The   hiti;]icst   flij^hts  of  their   ])oets   and  the 
choicest  gems  of  their  literature  cclobrutcd  the  exploits 
of  (heir  gods.      Tlie  Iliad  arid  Odyssey  wonld  contain  but 
few  thrilling   incidents   and   but  little  glowing    imagcMy 
but  for  the  mythological  legend  and  fal)le  that  run  lila^ 
golden    threadK  through  those  heroic  narratives.      Tlu^ 
whole  compass  of  Greek  literature  abounds  in  legend 
and  fable  which  Art  embodied  ai;d  illustrated,  and  which 
at  the  present  time  rank  among  tho  finest  gems  in  our 
museums    and    Art    galleries.      Aniong    these    may   !»(> 
nu'utioned  Venus  sweeping  through  the  h(\av(Mis  in  her 
chariot,  drawn  by  doves  and  heralded  by  Mercurv ;  or 
Diana  breaking  her  bow  and  ariows,  and  r<'lying  upon 
the  caarms  of  her  nud(i  jieison  to  subdue  the  ferocity  of 
th((  wild  beasts;  or  Europa  being  ])orne  away  u](on  the 
back  of  Jupiter,  who  had  assumed  the  form  of  a  l)ull, 
and  swam  with  his  precious  burtluui  across  tho  sea  to  the 
Islo  of  Crete  ;  or  Alcibiades  receiving  instruction  from 
Socrates,  surrounded  by  ])eautiful  maidens,  whoso  ju'o- 
senco  made  philosophy  tolerable  to  that  wayward  youth. 
Grecian  Art  cannot  bo  undcu-siood  and   appreciated 
without  some  knowledge  of  mythology,  f(3r  tlie  w^ovks  of 
Art  were  merely  its  symbclism.     Strii)pcd  of  its  ])liilo- 
so])hical  signihcance,  mythology  was  "a  systctm  of  mo 
rality  veiled  in   allegory    and  illustrated  by   synd)ols ;" 
many  moral  precepts,  and  much  that  is    mysterious  in 


13 


•l>lo.  A  giiiiip«o 
)iiii  in  .'I  sort  of 
■I-  of   wliicli    ilic 

or  the  fiUnily  of 
rovmtl  tho  neck 

])oets  and  the 
tod  tlio  exploits 
»nld  coiitaiii  but 
;lowin,^  iinaf^'tny 
Ic  tluit  mil  liko 
arrativos.  Tlio 
(Uiids  ill  l('p;eiid 
atod,  and  which 
'st  ^'oms.  in  our 

tlioso    may  !»<' 

lioavoiis  in  lior 

)y  Mercury;  or 

d  relying  upon 

0  tho  ftu'ooity  of 

a^vay  u]»on  tlu^ 
form  of  a  l)ull, 
>s  tho  sea  to  the 
nstruction  from 
2ns,  whoso  ]iro- 
•ayward  youth. 
tid  a])prociated 
or  tin;  wovks  of 
d  of  its  ])liilo- 

systom  of  luo- 

l)y   symbols;" 
i    iiiystorious  in 


liuMian  oxperieiK'(\  wovo  ex])lained  by  it.  W'liat  can  so 
jj;raphically  tell  tho  story  of  man's  origin  and  destiny  as 
till'  faltle  ot"  tin:*  old  god  (Ihronos  devouring  liis  own  off- 
s]U'ingy  the  earth  is  the  god  and  we  are  the  ott's])?ing ; 
from  the  oartli  we  came,  and  unto  it  we  return.  Or 
\vlia.t,  in  tlie  absonco  of  revelation,  could  better  solve  the 
mystery  of  young  porsonsdving,  or  of  old  ]iei'soiis  h)ving, 
tlian  the  fabh'  of  Cupid  resorting  to  a  ca\i:  to  escape  the 
scorching  rays  of  the  sun  ;  being  weary,  ho  cast  his(|uivei' 
upon  the  rocky  tloor,  laid  himscilf  down  and  fell  aslee)). 
The  ca\e  was  also  occupied  by  the  god  of  death,  with 
whosiuhxrts  mingled  those  which  hr.d  fallen  from  Cupid's 
quiver.  Upon  awakening,  Cupid,  in  his  haste,  gathered 
u])  tli(>  darts  indiscriminately,  and  being  unable  to  distin- 
guish l)etwe<n  them,  sometimes  juerces  tlio  hearts  of  the 
young  witii  the  shaits  of  death  instead  of  the  darts  of 
lovi\  and  sometimes  sends  the  darts  of  lo\e  to  the  hearts 
of  tile  aged  instead  of  the  arrows  of  death.  The  fable 
makes  accident  the  only  ])ossible  explanation  of  the  un- 
seemly oecnrronces  of  young  ])ersons  dying,  ami  of  old 
persons  forming  new  attachments.  If  theri;  are  no  laws 
with  inoxoi'iible  jienaltios,  and  no  undying  lovt_'  in  tlu^ 
human  breast,  accident  alone  can  atVord  a  solution  (,tf  the 

unstery. 

AVliat  could  more  imju-essivoly  portray  the  power  and 
sui)reniacy  of  Him — who  is  "  a  great  God  aixl  a  great 
King  abov<!  all  gods" — than  the  legend  ofjujiiter  telling 
the  assembled  gods  that  altlumgh  they  sin  mid  fasten  a 
chain  to  the  heavens  and  drag  them  downwards  with 
united  strength,  they  would  not  be  able  to  move  him 
from  his  seat;  nay,  that  if  it  so  pleased  him,  by  one 
touch  he  could  draw  all  thhigs  to  himself. 


11 


O'.it'  i»l  lli«>  iiKist  l)0!iii(il'iil  nt'  (lie  Clrcok  l('f;i'ii(1s  is  that 
111"  Zeus  l)cc()tniii^  (Miiiiiiorctl  of  liis  dan^'litcr  liiiiui,  who 
irj.clctl  liis  suit  and  i\(t{  I'idiii  his  |ir(-^ci'i'i'.  Zciis  was 
Ihi'  siiii,  and  Jjuna  the  iikkhi.  When  iiioniin.n'  opens  its 
!4')lden  i;att'S.  ai.d  thi'  u'od  of  <lav  niounts  the  steeps 
of  th«'  sky,  t hi  nioon  fach  s  away  amid  the  s[)leiulor  of 
his  ].r(seiiee  ;  ha\in!j;  made  his  eiii-nit  llnougli  tl;e 
Iiv'aveus  lie  wiajis  his  mantle  of  j-ui'ple  lud  crimson 
ai'onnd  him  and  disa)t])ears  only  to  iiiu'w  his  )niisuit 
when  lie  shall  have  ictui'iied  to  the  Orient,  ami  thus  he 
lias  ti'avi.'}'sed  this  eirele  with  unwearied  eonstancy  iVom 
ae;c  to  a^e.  What  a  sulilime  meta])lior  of  the  irre|)ressi- 
Itle  and  im]>eri>lial»lo  nature  of  Divine  k>vi'.  It  was  these 
anil  similar  le;^ends  emliodicd  in  statuary,  dejiicted  on 
canvass,  and  <^lo\\in,n'  in  soni^  and  stiu'y.  tliat  invested 
tile  Oreek  mvtliolo.uy  with  its  marvellous  eharius. 

It  is  not  sur]>risinp;  that  a  poople  like  tue  (Iroeks, 
familiar  with  the  wonders  and  l)€\'iutios  of  natur(^  and 
with  the  varied  t'aditions  of  tlieir  lace,  should  weave 
around  the  >j;ern]  of  instinctive  faith  a  vesture  of  myth 
and  I'aMe  ui>on  which  tluir  minds  niijjjht  repose,  and  fi'ont 
whicii  ilieir  hearts  mi!j;ht  dt'iive  sonu_>  tranciuil  assu- 
rances. It  is  not  surprisiiijj;  that  tiiey  should  lu^ar  the 
faii]t  (Hihoi's  of  an  eternity  past  and  ])(iyoud,  and  see  in 
thv'  visil'le  imminsity  of  matter  the  omnipresence  of  su- 
[K'rnalural  power  and  wisdom.  Nor  is  it  surprisinj^'  that 
a  faith  deiived  eutiiely  from  these  sourc<  s  should  assume 
the  form  of  Pantheistic  Theism  and  employ  lej^cnds 
anil  sMiiliols  to  sugj^'est  the  idefi  to  the  mind:  s}nd)o].s 
that  re[nesent  the  attributes  and  opeiations  of  an  oniui- 
presi'ut  Divinity  that  controls  the  elements,  vitalizes  na- 
tur(\  and  ju'esides  with  jiaternal  interest  over  the  dci'iti- 
nies  of  men. 


15 


;  lt>f;('iuls  is  tli.'it 

;lil('i'  Lnna,  who 

•I 'CM',      /(iis  \v;is 

niiiiL:;  (i|ii'iis  its 

lilts      till'     S((('|)S 
tilt'  s[il(ll(lnr  nf 

it  tlm)ii<4li  the 
\e  ;  11(1  ciiiiisoii 
iic>\v  his  jtiirsiiit 
•lit,  ;iiul  thus   lie 

constancy  Ik  mi 
»l'  the  intprt'ssi- 
vi'.  It  was  these 
ary,  dcjiictfd  on 
V.  tliat  invested 
;  eh. anus. 
ke  tiu!  (; I'lM'ks, 
■;  ol'  iintnie  and 
e,  shoiihl  weave 
Vesture  of  myth 
repose,  and  tVoiu 
'  ti'aii(|uil  assu- 
shouhl  Jurir  tlie 
vend,  and  see  in 
i])resene(.i  of  su- 
t  sill  piisiii^^'  that 
s  siiould  assume 
elUiiloy    h'^ends 

mind  :  symbols 
ions  of  an  onini- 
nts,  vitaH/es  iia- 
;  over  thi^  dessti- 


The  rellective  ihind  ]iou(lors  witli  melancholy  syni- 
]iathy  over  the  mystic  t(Micts  of  the  Cirocian  inytholo'^y 
and  upon  the  biiUiant  aehieveineiits  of  Art  in  creatinj;- 
the  statiU'S  of  the  ^(nls  which  wtsrc  the  syniliols  of  that 
reh't^ioii. 

Tho  (ireciau  mythology  i;wod  inneh  to  the  chaini 
of  h'^'eiid,  hut  more  to  Art-  V>r  the  mind  is  always 
inlhienced  nioiH!  liy  what  we  see  tiiaii  hy  what  we  heai'. 
ljejj,end  was  but  a  prosy  ajio-^tle  when  compared  with 
statuary,  which  sent  its  eloipmnt  shafts  of  lo^ic  to  tlie 
cuhured   numh 

The  (lit'clis  .-<tiiihi'd  philoso])hy  and  worshiped  the 
beautiful;  it  was  easy  to  mal<e  tnese  statifs  symboji/i" 
both.  They  I'lni/odiiil  the  bt  aufiful  a^  well  as  the 
l)heiiomena  of  Naturi',  tlu'  |)rodiii-tis(iiess  of  the  earth 
and  the  sun  as  the  source  of  liuiht  ami  heat,  and  the 
eause  of  the  chemical  chaii<^es  that  are  constantly  taking 
l)la(;e  in  Nature's  <^reat  labora.tory.  Thost^  statues  were 
made  to  ex])ress  beauty,  or  power,  or  i'omi»laeeney  or 
any  otlna  attiibulr  which  tliey  Were  d(  sij^ucd  to  syinboli/.e. 

Time  !ias  laid  hi.--  I'uthless  haml  upon  these  maunifiemt 
crnatioiis  of  Art,  ami  yet  the  fragments  tli  it  ai'o  pre-^n  \  ed 
in  the  .nusoums  of  the  world  are  the  subjects  of  \\()nder 
and  adiuiration.  To  the,  classic  scholar,  thev  are  worth 
their  weight  in  gold — for  to  liim  they  are  (diapters  from 
the  vjaiiosophies  of  the  Ai  'ients  and  symbols  of  their 
religion,  and  are  associated  with  the  hjre  which  entranced 
him  in  Homer  and  Hesiod,  in  .'Eschylus  and  vEiiiipides. 
'I'he  \isitor  to  the  Britisli  museum  finds  nothing  in  that 
^ast  collection  of  specimens  from  Nature  and  Art  tli;d 
iuti'i'ests  him  more  than  the  Elgin  marbles,  which  are 
merely  fragments  of  Ifercules,  Neptune,  and  otlier  statues 


ir; 


nf  ilic  Cln^ck  niytliolof^'v  (li.it  oiici'  iulonuMl  (lio  Piuitliroii 
Mini  the  Iciiijili'  (if  Miiii'vvu.  Sir  Isaad  Nrwtoii  IimiI 
never  1)  held  lliose  stlltlU'S  wlu'ii  lio  r'.dirilleil  (lie  Jvirl 
of  I'lMubroke  for  lieiii;^'  ipfjituided  witli  "  tlif  stoiie  dolU 
of  (Ireccf  ;"  iK'i"  'i;'<^  'i''-  I'l^*'  lJiU'f>ii,  n'p;!irded  iiiytlu)lo^i;y 
us  ji  system  of  natural  and  moral  pliilosopliy  in  wliieli 
PsyclK',  Ariadne  and  .luno  \vere  lij^ures  of  an  alle;^ory 
vt'imsentiii}^'  the  forces  of  Mature  and  tlio  beauty  of 
nnit(>rial  objects. 

15ut  after  all,  having'  adn)ittod  the  extiaordimiry  merits 
of  the  Clreek  goils,  as  works  of  art  and  the  sublime  poesy 
of  their  lei^ends,  the  painful  thought  |  in 'sen  is  itself  to  oil  r 
minds  that  the  gods  were  merely  deitied  men,  and  all 
the  symbolism  of  mvtholo<'v,  wlu'ther  of  Ait  or  Arclii- 
lecture,  confonsu'd  to  that  idea.  There  was  nothiii;^ 
lofty  or  (^levatiii'j;  in  Iho  system.  Tliei'e  \v;is  no  soariiiL: 
of  thought  be\-.)iid  tho  visibl(>  and  taii,f!;iblo  ;  there  were 
ni>  ea,nle  lli^lit-^  of  the  inind  across  the  eternal  i^'iilphs, 
and  no  coiu'ejjtion  of  ;in  Jnliuite  (rod  p:'rvadin,L;  all  mat 
ler  and  llllin;j;  all  space.  Their  hi;j;hest  ideal  was  Nature, 
Aviiich  fni'iiislu'd  all  their  ]>rototyp(>s  and  suj^'t^ested  all 
their  moral  h^ssons.  Tin.'  ^^ods  wer(>  beli(>ved  to  have 
appi'tites  like  men,  and  to  subsist  upon  Ambrosia  ami 
Nectar.  Th(>y  had  passions  and  prejuilices  lik(^  men. 
Their  abodes  were  not  in  the  hiuh  altitmles  of  heaven 
but  upon  Mount  Parnassus,  around  which  clouds  leath- 
ered and  tempests  spent  tluMr  fury.  Their  temples  were 
built  in  ('onf(»rinity  with  this  idea  of  a  limited  and  earthly- 
divinity.  Thoy  had  no  arch  sug^'estivc^  of  the  beinliiii;' 
pkies ;  no  donu!  to  svmboli/e  the  universe  as  the  aIiod<' 
of  a e'od,  ami  no  towering  spire  to  dii'ect  the  mind  to  his 
throne.     Their  temples  oxpro.ssed  but  one  idea,  and  that 


17 


lU'tl  tlio  Pntillicoii 
fifto  Ncwtmi  li;hl 
.tlu'uli'il   tilt!  Karl 

"  tlic  stolK"  <|(.li-> 

i;iii'tl»'(l  iiivlliolo^v 
losojdiv  ill  wliiili 
'S  ol'  ill  I  ulU'^'orv 
(1    tlio   bofiuty  ol' 

r.iordiimiT  iiKM'its 
lie  sul)liiii('  l")cs_y 
■sciils  itself  to  our 
led  iiicii,  and  all 
ot"  Art  or  Ari'lii- 
cro  was  iiotliiiiL; 
J  Wiis  iio  soiiriii;^ 
i;il>lo  ;  there  were 
ic  rtt'i'iial  j^Milplis, 
crvadiii^^  all  iiiat- 
idoiil  Avas  Natui(», 
Liid  sn;4,t^(^stt'd  all 
l)eli(!Vod  to  have 
)n  Ambrosia  aiui 
iidices  like  men. 
tudt'S  of  heaven 
lirh  clouds  jjjath- 
leiv  temples  were 
iiited  and  earthly 

5   of    llie    belidinii; 

■rse  as  the  abode 

th(>  mind  to  his 

>iic  idea,  and  that 


was  earthly  beant-y — tin;  beauty  of  the   huiuan  loriu  lioiii 
whieh  was  d(>i'ived  the  three  orders  of  their  arehiteetiire, 
lepreseutiii^'  llio  man,  the  matron,  and  llif  maid. 
As  Thomson  sa\s  ill  onoof  his  poems 

"  First  uiiiidoirHil 
And  milily  ])liiin.  the  mmihi  J^niii-  ri>se  : 
Till- loiiii'  tlu'iMvitli  Aowni  viitlrihi  \x,vm'a\ 
llcriiiiy  i>illar.-i;  luxuriiiiit  iusl 
'I'jii'  licli  t!nriiitliiiii  .spiViKls  licr  "•«"/"><  wiviitb." 

Whatever  \ it;ws  we  may  eniertain  of  (iiccian  \ii  and 
Mytholoi^y,  thero  nevertheless  chisfi'rs  around  the  nauH> 
of  (ireeee  elKUlj^ll  of  j^lorv  and  beauty  to  eliaini  the  inia- 
;i:ination  and  >\va\  the  judiu'iueiit.  ( b'eece  was  the  re ci- 
voir  into  wliieh  llmved  older  ei\ilizatio!is  ;  the  lij^hts  from 
other  altars  found  their  focus  in  her  tom]»les  and  upon 
lii'r  -shrines;  E^'y])t,  Assyria  and  IJalndon  ,u;av(>  their  of- 
ferui,L;"s  of  runic  relij^ion,  and  ]>y  these  tlicktM'inj;'  lamps  si" 
strove  to  comprehend  {\\o  mysti-ry  of  human  lih-  and  t  le 
still  greater  mystery  of  Diviim  existence  and  ;4overnment. 

(b'eei'e,  t'lassic  Cire(H'" — the  fountain  of  poetry  litera- 
ture and  elo(|ueuce;  the  cradle  of  the  Arts;  the  sanctuary 
of  beauty  and  light;  wo  admire  her  although  in  ruins; 
W(>  are  linkiul  to  hor  by  the  tmidrils  of  mysterious  all'ec- 
tion.  Ther(>  linLi;ers  ^till  in  our  ears  tho  music  :if  her 
hai'p  and  lyre.  AYe  tarry  willingly  to  catch  the  sihery 
tones  of  her  orators,  and  the  sweet  songs  of  her  ports. 
the  I  lii>i'l  in  tlu>  hands  of  herai'tists  is  like  the  conjnroi's 
wand  to  eutraiico  us  to  tho  spot.  We  leave  her  as  w«' 
leave  the  embrace  of  our  mother,  or  the  honu^  of  our 
childhood — reluctantly,  sorrowfully. 

Out  of  the  ruins  of  Greec(!  was  formed,  upon  tlu>  seven 
hills  of  the  Tiber,  another  civilization,  and  the  genius  of 


is 


Alt  Ir.'iiisl'rnril  it-,  iiispinitinns  IVoin  its  aiiritnt  limiiils  to 
llir  iii.-ii  l>lt'  Iriiiplc^t  Mtiil  };;iltlnl  piihwcs  (»l"  lilt'  Klt'iii.il  City. 
All  uiis  slill  tlic  willing  vassal  of  rtli!j,i.iii  .nn]  crcjitiil  a 
lnli<;' liiir  dl'  iiiarldc  ^oilst'nr  ItoiiK'  lis  site  liad  done  tor 
(ilVfcc.  line  ainl  tlii'ir  Wvyr  ilitri)ilu('<'(l  liru  iliviliilics 
Id  cliaiacti'ii/c  tin-  iii'W  civili/.atiiiii  ;  liiit  tlif  old  j^ods 
Wi'Vr  I'i'taiiicd  iiiidcr  iifW  names.  'L'lic /ciis  of  the  (iiceks 
wa'^  till'  .liipilt  r  of  llmin' ;  Arcs  hciMiiie  Mars, and  Apliro- 

dilr    N'fllllS. 

A  liiiiiilnd  tfiiiplcs  wcic  Imilt  and  dedicated  lo  llicir 
res|iecti\e  Ljoils  \s Iio  sua niieij  u|ion  tile  allaisaiid  in  the 
niches  ji|.:e  Itees  in  the  hive.  Art  luvislu'd  its  cle<.;iiii('(' 
aiiij  decorations  upon  llnse  pa<^'an  saiictuaties.  Tlie 
spoils  of  (ircecc  and  C'aitha^^e,  .and  the  thousand  cities 
thai  were  added  to  Jionie  l»_v  con(|uest,  increased  their 
<;randeur  hy  accunmlated  works  of  Art  'ind  liy  the  ijitro- 
duction  of  new  desi^'lis. 

Home  reached  her  climax  of  power  and  art,  her  xenith, 
in  the  .\u,mistaii  aj,'e.  Her  walls  and  ;j,atcs  enclosed  the 
lieaiity  and  .^loiy  of  the  world.  liude  stiuctiircs  had 
}j;i\en  way  to  maenilicent  jtalaccs  and  f;rand  leinples_ 
Au^^ustus  accomplished  the  lioasl  that  he  had  found 
Jlonie  huilt  of   l)rick,  he  would  have  it  Ituilt  of  marhle. 

Ti'iumphal  arches  spanned  the  principal  avenues*- 
monuments  met  the  eye  in  every  s(|U!U'('.  The  oolosseuni 
lifte'd  its  parapets  to  the  clouds,  and  the  Pantheon  spread 
its  vast  dome  oxer  the  ti'inple  of  all  the  i^ods.  Alon;^  the 
A])pian  Way  were  tondis  as  matinilicent  as  palaces, 
where  vested  tlie  dust  of  the  honored  deail.  I'p"!'  these, 
also,  Art  had  lavished  hei-  wealth.  To  the  lamps  of 
heauty  and  ])owcr  wer((  added  those  of  sac'jitic(>  and 
nicinorv.     Statues  of   warriors,    statesmen,   orators  and 


at! 

Ce 
I 


t 

O' 


lU 


I'it'iit  liiiiiiits  to 


Kt. 


ni.il  C'ilv 


had   (lone    |' 


nr 


IH'U   (liMiiitirs 
'III'    old    ;^'o(ls 
(tf  the  (irecks 
a  IS,  a  lid  A I  til  Id. 

lirattd  to  lliiii 
tats  and  ill  the 
it'd  its  ell  <4Jiiic,. 
tuaii<.s.  Til., 
tliousiiiid  cilics 
iiici'cuscd  llirir 
id  liy  (lie  iiitro- 

ail,  li(  r  /.ciiilli, 

li's  enclosed   (lie 

structures  Ii;i(| 

grilllij     telii|>les_ 

he  liad  found 
ilt  of  nmi'hlo. 
'inal  avemi(>s'. 
The  Colosseum 
uitheoii  spi'ead 
ds.  AIoii^  the 
nt  as  palaces, 
I'poii  these, 

the    lamps    of 

sac'i'itic<'    ami 

1,    oi'utois  and 


sclii'l.iis  ill  th'  1  oiirt.s  jiiid  Niniaies,  on  pedestals  and 
in  niches,  Wer  eveiywliere  to  1)1'  Heeii,  Tliis  was  Itiniie 
ill  iIm  Aui^iisian  .i;^'c.  'L'he  Uoinaii  Knipire  was  thew.nld, 
and  llonie  was  the  metfopolis,  IjVt'iy  road  led  to  limine, 
and  e\cry  lay  of  lij^ht  fnund  tin  re  its  focus.  Aitiltititni 
had  reaehed  its  hif^hest  as|tiralion>,  and  Al"t  had  atlained 
its  {grandest  H'sults. 

A  piopin  t  mi^ht  liave  f(»retold  thai  a  iiii'ie  ladiaiit 
ailieole  await' d  tlu;  la'owcf  tlie  Mistiosdf  the  Wdild, 
when  licf  i^ods  >hoiild  he  dethlouid  and  holier  liies 
li^'hted  Upon  In  r  altais,  when  her  grand  tem|iles  shouM 
l>e  ('(tnseeratcd  to  a  liettcr  service,  and  when  Art  the 
inspired  but  misf^iiided  priestess  of  reli}_'iou  should  uller 
a  purer  and  more  ac('ei)tal»le  sacrilicM'. 

Tile  reli;^iolls  systems  of  CU't'cce  and  Uoliie  had  re- 
i|iiiivd  all  the  aiils  cf  alh'^oiT  li-gciid  and  Art  toeslahlish 
aiid  ijiaiiitaiii  them;  tlu'v  ie'|iiiri'd  a  thousand  s\ mlml-,  to 
attiad  the  eye  and  guith^  the  imagination.  The  new 
ii'ljoiiih  had  hut  few  synihols,  i-liicf  amoii;^  which  was 
the  cross  simi)l(3  in  form,  and  destitute  (if  any  of  iIm' 
hues  of  licauty  or  (■mlicllishmeuts  of  Art.  It  was 
iUi    cndileni  of  saerilict     and   a   harhinger  of    pi'aci'   .-iiid 

'I'he  great  Apostle  to  Vim  Gentiles  was  sent  to  (iieece 
[it  iHdclaim  a  <j;ospcl  for  which  their  luiiighled  minds 
laiiguislied-for  the  ( lre».ks  were  not  fully  satisfied  thai 
they  worslii|»ed  the  true  God.  Their  iiiNdcatii  lis  were 
often  a(hlresHed  to  tlui  uiiknowii  Chxl.  (^ii  that  memora- 
ble <lay,  stitiding  on  Mar's  Hill,  haviiiL;  an  audience  of 
philosoplieis,  artists  and  popailace,  I'aul  ju'iiclaimed  : 
"  W'JioiJi  vc  igiiorautly  worshi]),  Him  dcclan;  I  unto 
you." 


W^^' 


•20 


(.hvtc'O  had  fallen!  She  was  tli-m  a  Komaii  proviiifc ; 
ln'i;  temples  wvw  in  luins,  and  her  niai'l)le  gods  had  lost 
tlieii"  lustii' ;  eireunistances  favored  the  introduction  of 
Christianity  into  Greei-e,  hut  Homo  was  in  her  glory, 
dominant,  haughty,  invineihle.  l*aul  eutorod  llonu!  as 
he  had  entered  Gi'eece,  and  Ujion  the  same  errand.  If 
lie  had  been  an  eminent  seul[)tor,  or  painter,  or  poet,  he 
might  have  expeeted  an  honorable  rece[)tiou,  bnt  he  was 
neither;  nor  had  lu'  any  works  of  Art  or  costly  gifts  to 
pj'esent  to  the  government  or  the  gods.  Tliii  nuirvel  of 
tlio  :ge — ihe  seal  of  the  Cl'i'istiau  system  is  the  faet 
<  lat  Home  forsook  her  gods  and  end).ai'ed  the  new- 
religion. 

C'hri(?tianity  has  no  more  ilistinetivc  attrilmte  than 
sinr[)lieity.  It  is  the  reality  to  which  the  types  and 
(•(.'remonies  of  the  Jewish  wtn'ship  pointeiL  Tlu'  ritualism 
of  the  tem])le  service  was  superseded  by  ;i  religion  of 
nici(y  and  love — such  tloctriut^s  reijuired  no  grand  tem- 
ples or  artistic  symbols.  The  great  teacher  [iroclaimed 
his  gospel  ben<;ith  the  dome  of  heaven,  upon  tlie  iiioun- 
laiu-top,  at  til'  seaside,  or  in  hund)]e  dwellings;  but  a 
]uop](>  like  the  ilomaus,  wlio  wci'e  incapabli;  of  scpaiating 
the  flliical  iVom  the  aslhetic,  could  not  abandon  their 
Liand  temples  and  beautiful  shrines,  and  worship)  in  the 
opi  n  air  or  in  edilices  where  no  objects  oi  Art  ministered 
to  the'v  taste  or  inmirination. 

'I'liis  was  u  change  too  ' adieal ;  the  human  mind  is 
seaicily  c-.ipable  of  surh  tiaiisfoiniation.  They  aban- 
doned their  gods,  but  re-dedieated  their  old  temples  to 
tilt!  new  faith.  Jieneath  the  (h)me  of  the  L'aiitlieon, 
and  within  ihe  I  empk  of  .lu|>iter,  resounded  the  melody 
•  if  hjly    song  and  the  orisons  ot'  C'lirislian  worshipt'rs. 


Wi 

til. 
reliL 

si\e 

or  I 

do!! 

]lo^\ 

wen 
and 


•21 


';in  i)ioviiico; 
;<h1.s  ]i;ul  lost 
trodiietidii  of 
ill  hvv  glory, 
red  li(»rn(.   a.s 
H'  erraml.     Jl' 
t'r,  or  2)uet,  Jic 
i-S  but  ho  AvjiH 
costly  gifts  to 
'iio  iiuirvol  of 
111  is  tlie  fact 
I'ed    tlio   new 

ttrilmto    than 

10    types   and 

The  ritnalisni 

••I   religion  of 

0  grand  tciii- 
ei'  prochiiined 
'II  the  iiionii- 
Ihngs  ;  but  a 
<jr  sepaiating 
1>;iiido]i  their 
|'i'«hil>  in  (lui 
it  ministered 

nan   mind   is 
Tiicy    ahan- 

1  t"lllj)I('.S     to 

e  I'aiithcon, 
I  the  nirlods 
)i'shi|it'is, 


W"]{\\  liif  lapM:  of  lime  and  tiie  gi'owtli  of  the  chuii'h, 
tile  .u'i  iiiiis  of  Art  ''isidiously  infused  itself  into  tluMicw 
I'rligioii  niilil  it  (■anic  to  he  tii;mglit  that  thtMUosf  impres- 
sive teach(jr  uas  not  lie  Avlio  di  claimed,  from  the  pulpit 
or  ministeied  at  the  attar,  but  that  which  spol;e  fmni 
dtijiie,  and  arcli,  ajid  colunm,in  symbolism  of  btauly  ami 
p(|^\el•.  'J-'he  aichitectnre  i'.iid  furniture  of  the  sanctuary 
were  made  to  gioAV  with  liic  oloqiieiicc  of  Christian  faith 
and  doctrine. 

It  is  tine,  ciiiivi'ision  from  Paganism  to  Christianity 
ihd  not  at  onee  obhterate  the  images  of  lieauty  whii-li 
nadilion  ajui  enUiiVe  liad  ti>ced  in  the  minds  of  the  old 
IJoiiians.  'I'hey  were  attaciied  to  those  old  Ait  subji  els 
b\  liu;iineii<s  that  e>)uld  not  be  easily  sundered;  hence,  it 
was,  thai  thf  eai  ly  Christian  Artists  not  unfreiiueiitly 
tnipl<r,id  m\  tholouical  symbols  to  illustrate  reliu'ious 
^iibji i-ts.  Jn  tin-  tend)  of  one  of  the  early  Christian*-  at 
Home,  i,s  a  I'liinting  of  FJijah,  ascending  to  hea\en  in  a 
el:ai  i:  t,  with  an  angel  in  the  form  of  MercaoT  at  the 
hoist's'  heads  ;  in  anotli>'r,  is  Orphi  us  and  the  lyre,  sym- 
bolizing the  [lowrn' of  the  gospel  over  beiiighted  minds; 
another  syinbol,  boriowed  from  mythology,  was  thr  sun 
and  moon,  represented  by  /S./  and  Lund,  seated  in  their 
oiliN,  surroumled  by  elouds,  with  theii-  right  ha'.ids  I'aiseil 
|o  Iheii-  cheeks —an  ancient  sign  of  smrow— this  painting 
synil'oli/.ed  the  eruciilxion;  another  I'epi'csenfod  rla^sie 
ligures  rising  from  the  ttmib  and  from  tin'  waters.  tea<di- 
ing  the  Christian  doctrine  that,  at  the  Jlesmj-ection,  the 
sea  and  land  shall  tdve  up  their  dead. 

'The  empioyment  of  mythological  symbols  was  the  cx- 
Ciplion  and  iioi  the'  rule;  in  the  main,  Art  eonfoimeel  to 
the  hue  Shi  lit  e>f  CJu'istian  orlhoduxv. 


22 


The  piiintiiij^s  in  the  tJatacomlts,  ui  a  vciy  early  period, 
(•ut.npriseJ  a  .syinhohsm  Avliieh  has  searcely  been  excelled 
l)v  iiioderii  artists  who  were  ivrv  I'roiii  the  shackles  of 
paganism  in  which  tradition,  art  and  literature,  with  a 
lrii)l('  cord,  had  fettered  tlie  Eoman  iiiin(h 

In  the  toudjs  along  the  A])pian  Way  are  vaults  and 
galleries,  u])on  the  walls  of  which  the  early  Christian 
artists  painted  sucli  subjects  as  Daniel  in  the  Lion's  Den, 
and  the  Hel>rew  ChiKlrcMi  in  the  Ficn-y  Fm'uace,  with 
angels  protecting  theni  in  their  jieril ;  illustrating  the  care 
of  God  for  his  chosen  ones  ;  and  the  Saviour  raising 
Lazarus  from  the  grave  at  the  request  of  his  sorrowing 
sistei's — tyj)ical  of  the  resui'r-'ction  from  that  sleep  that 
k: ows  no  waking.  In  one  of  those  tombs  is  painted 
u])on  the  stuccoed  walls  Moses  removing  the  sandals  from 
his  feet  befoic  going  into  the  presence  of  God;  and 
again,  that  old  worthy  smiting  the  rock  out  of  which 
issued  llie  limpid  water,  symboli/ing  a  ]iure  heart  and 
lil'i',  and  the  jxiwei'  id  faith,  when  blcntled  witli  sui-h  i-on- 
ditiou'  in  anothei'  is  represented  one  of  the  olil  palii- 
archs  i'eclining  in  "gi'een  pastuies  and  besidrs  the  still 
waters,"  while  .i  female  witli  uplifted  hands  is  apparently 
cNulting  in  joy  and  ecstacy — these  rei)resent  the  tiiuin])hs 


tl 


le  recleemei 


I 


In  the  early  agi's   the   cross   and   the  anchor  wi're  the 
ief  svml)ols  of  the  Christian  f;iith  and  hope.     Tlienhd- 


Cll 


loW( 


■d  the  age  of  reprt^scnting  Christ  in  statue  and  upon 
an\ass,  and  then  the  age  of  painting  apostles  and  niai'- 
vrs,  and  then  followed  the  era  in  which  Art  claimed  uiii- 


versa 


Id 


ominion. 


Tl 


lere   was   si-arcelv   an    niculcnl 


HI 


l>ib]e  histor\'  or 


Christian  literature  that  was  not  lokl  with  more  t(jucl 


iini 


23 


patlios  In-  tilt'  i>;iiiiU'i's  ])iush  thtui  hy  tlic  pcuof  the  \)nv[, 
or  liistovi.vn. 

It  is  (nirious  to  iincv.  tlic  cautioii  with  whidi  statues 
and  [)aintin^;v  of  Climt  ^vel•e  tolei*iit(Ml  ])\  the  early  Chris- 
tians. Having  just  ciuorged  tVoiu  ])aganis]n  tliey  iil)hornHl 
the  iuiagi's  of  the  gods,  and  besides  tliey  were  not  quite 
sure  of  the  [iropriety  of  repi<.'seiituig  the  Divine  Christ  in 


I'l.h 


niarhie  or  on  canvass.  JiimiJlenis  M't^re  generally  emiiloMxl 
in  1  (reference.  A  fish  was  the  earliest  and  most  univi-r- 
sal  synd)ol;  thu  (Ireek  nam;  being  comi)osed  of  the 
initial  J^atin  translation  Jesus,  Christus,  Dei,  Filius,  Sal- 
vator — forming  the  initial  anagram  of  the  title  of  Jesus. 

Another  emblem  Avas  t\u\  lamb,  and  another  the  lion  - 
taken  from  ])r()phecy  and  the  books  of  the  Evangt'lists. 
Anothei- striking  emblem  was  the  pelican  that  tears  her 
lireast  open  U)  feed  hei'  young  with  hei-  blood — t\pical  of 
man's  redemption  through  the  blood  of  Christ.  Euse- 
bius  and  Tertullian  tell  us,  however,  that  when  the  new 
ri'ligion  had  su[)])lanted  Paganism,  and  its  s])irit  better 
understood,  both  statues  ami  paintings  of  Clu'ist  were  not 
only  tolerated  but  commended  by  his  followius.  The 
tirst  representations  gave  him  an  tsmaciated  and  deji^cted 
look  ;  "  His  visage  was  marred  ;'"  lie  was  ''  a  nnui  of  sor- 
rows;"' but  when  Paganism  lost  its  ])oW('r  to  persecute, 
and  a  brighter  day  dawned  upon  tin;  infant  i  hui'ch,  He 
wa 


s  ri'presented  wit li  placu 


d  and 


joyous  features,  possess- 


inu'  eomelnuiss, 


and  altoLTether  lovelv. 


jusel)nis  men- 


tions that  in  his  day  Jiot  oidy  were  imag(*s  and  pictures 
of  Christ,  of  great  beautv  and  nnije'-ty,  numerous  among 


Chi  istiaiis, 


but  t 


nai 


|(  )\i'V~>  o 


f  Art  amoni'  the  unchristian- 


i/.ed  (Ireeks  and  liomans  obtained  and   valued  them  as 
ai't  treasures. 


21 


The  schisiii  wliicli  n'Milt'.Ml  in  rstali'isliiii,^  tlio  ({ivi'k 
iiml  .liomaii  ('liuivlirs,  aiul  tlic  ovcitlivnw  of  the  Itoiuaii 
Empire,  were  events  wliieli  [)r()ve(l  (li>asli\tus  t(t  ilif 
Christian  religion.  A  long  ])erioJ  of  d.elension  followed 
this  eatasiro]ilie,  and  then  i'lloWed  the  eei'turies  which 
are  |ij'o|)orl_v  designateil  tiie  Dark  Ages. 

During  this  [)cri()d  ]io  great  tidal  wa\o  of  reform  swe[)t 
over  the  nati(»ns — no  missionary  enterjnises  l)ori»  the 
banners  of  Zion  to  n-mote  parts  of  tin;  earth.  It  was  a 
period  of  inaetivity  and  ri'trogi'essioii.  Alas!  the  liunian 
raee  has  no  ti\fd  social  and  moral  stains,  as  willi  the 
restless  sea  there  is  always  an  ehh  or  a  How;  a  rolling 
on  of  the  wave  glittcMing  nndei'  the  golden  light  of  the 
snn.  or  a  surging  hack  into  the  gloomy  wastes  of  darkness 
and  night.  Dnring  tin;  T')ai'k  Ag''s  the  passions  and 
avarice  of  men  knew  no  moral  restraints.  Iteligion  was 
a  niyth,  anil  statnes  and  images  1)ecanie  ohjecls  of  wor- 
slii])  .-is  they  had  Ixhmi  under  the  Pagan  ni\  tliologi(.'s. 
It  was  not  iintd  lla^  Crusades  of  the  el<'Venth  century  tliat 
the  gi'eat  heart  of  Christian  Europe  gave  evidence  of 
s]iiriiual  hi'i' ;  but  even  tlu'U  ilie  pnlsa(ic>ns  wei'i' al)!ior- 
mal  and  spasmodic.  The  vital  foiccs  were  (adystiinu- 
Liled  and  not  permanently  elevated.  No  substantial 
nioi'al  con^■alescence  was  elt'ected.  A)'t  was  liierNated 
by  tht  \ital  depletion.  Although  it  stood  like  Hercules 
Willi  sliculdei'  to  ihe  wheel,  il  was,  jievei'theless,  manacled 
and  hoodwinked,  and  achie\ed  no  grand  ri'sulls. 

Jt  was  iioi  uiilil  the  age  of  ]\licha(  1  Angelo  that  Art 
I'eeovered   lis  noiinal   strength  as  a  prophet  and   teacher 


of    religion.     Sinn'ular  that   so   loi 


111"  a 


time  slioidd   have 


elapsed  without   the  genius  of  Art  unfolding  its  golden 
vituuns  to  any  great  artist,  and  then  that  u  constellation 


25 


of  ^voixt  maslors  should  at  «nico  ajipeav  to  Juark  an  t|MHli 
ill  the  liistory  of  tlus  wovkl.  But  tjiis  i^licuoinLiioii  is  not 
ciuitinetl  to  Art,  it  is  also  coiiuaon  in  })hilosopliy  and 
litcraturo. 

Tlio  same  ago  produced  Socrates  and  Plato,  another 
proihiced  Cicoro  and  Virgil,  anotlan'  T;isso,  Bacon  and 
yhakspeari>,  another  Lessing,  Cloc^.he  and  iSanniel  John- 
son. A  similar  cause  evolved  Michael  Angelo,  Haphael, 
Titian,  Guido  and  Murilhj-  all  great  artists,  and  all  con- 
sci-ratcd  their  genius  to  religion.  Angelo  was  the  great- 
est star  in  the  gi'ou]) :  iiiileed,he  niay  he  regarded  the 
sun  around  which  the  others  ri.'Volvetl.  H(^  t-omliini'd  in 
liis  great  gt-nius  the  ai'chitect,  the  ])ainter  and  the  sculp- 
tor. It  was  he  who  said  ''  an  angel  sleeps  in  a  block  oi 
maiiiie,""  and  by  his  inspired  art  ho  removed  the  cover- 
ing and  revealed  tin;  heav(>nly  form.  He  was  the  author 
of  the  statue  of  Moses,  he  painted  The  Last  Judgment, 
and  was  Ihe  architect  of  St.  Peter's.  Harvey  said  of  his 
thre(\great  works,  "  his  Moses  inflames,  his  dome  of  St. 
Peter's  awes,  and  his  Last  Judgmeiit  startles."  Paphaers 
inspiration  Avas  of  a  different  kind  :  liis  ideal  was  h'ss 
austei'e  and  more  'pathetic  ;  his  choice  subjects  were 
the  Infanl  -fesiis,  ami  the  Tr-Misliguratiou  upon  the 
Mount.  The  Cluisfian  workl  is  familiar  with  those  mar- 
vellous  pictures.  His  Madonna  and  Lifani  Jesus  is  an 
heirloom  in  luosl  hous<'hol(ls,  and  what  a  teacher  il  nas 
beei.  A\'lio  that  ii;i:-.  looked  upon  the  sweet  and  su!>linie 
hice  of  the  Jid'aut  (n)d,  and  ga/:ed  into  those  nr,  steiious, 
loving  eyes,  has  not  felt  spiritual  inthience  stirring  the 
fouidaiiis  of  his  sold  ? 

Haphael  was  liki' John,  he  lo\('d  to  recdine  u))on  the 
Ijosoni  of  his  Mastej'. 


'JG 


(liiido  was  likf  Tctcr,  bold  and  defiiuit ;  he  pivlc'iivd  tlu; 
,i;i\iiid  and  tia^ic.  liis  clioicc  suUjccit  wiw  tlio  Cnicitixioii. 
'L'o  ^i;t  a  (.'oiict'^itioii  ol"  the  Divine  tragedy,  it  is  said, 
lie  suspendid  (Uic  of  Jiis  piijiils  on  ti  eross,  and  stabljed 
the  Jiel|»less  victim  tiiat  lie  might  transfer  to  canvass 
the  awfnl  exjjrcssion  of  final  suJleiMiig.  The  marvellous 
mei-it  of  the  i)aintiDg  ^vas  thought  a  justilieation.  Heaven 
had  gaiiMel  a  martyr,  ajid  earth  a  glimpse  of  Divine  love. 

TitiaJi  ajid  Mnrillooecupied  th«  middk  ground;  Mieir 
works  ilhi.-,ti'ated  the  intluenee  of  Divine  light  and  love 
upon  the  mind  and  heai't  of  man  ;  illuminating  the  tiark 
ehamli  rs,  niflting  the  iey  crystals,  and  binding  willi  a 
golden  chain  Ids  wayward  ati'eetions  to  the  person  and 
gov(a-niueut  of  the  Ivedei'mer.  "Who  can  tidl  how  mnch 
civilization  and  religion  owe  t(j  these  w'onderful  reju'esen- 
taliojis,  and  to  these  no  less  wonderful  men. 

Jjut  Art,  as  a]i  exponent  of  religions  sentiment,  has 
not  l)cen  confined  to  painting  and  statuary;  its  devict-s 
and  syudiolism  have  given  \()ice  to  clnirch  architecture. 
It  is  scarcely  [lossiljle  to  conceive  how  more  theology 
could'  be  ex[)ressed  by  architecture  than  is  crowded  into 
tliose  grand  old  cathedrals  whii-h  were  built  in  Italy  and 
all  parts  of  Europe  from  the  elcM'nth  to  the  sixteenth 
centuries.  The>  are  coustructod  in  the  form  of  a  cross, 
symbolizing  the  atonement  ;  the  three  entranc(!S  are 
typicd  ol'  the  gathering  in  of  worshi})ers  from  all  parts 
of  the  earth  ;  the  Ijuttresses  ■su[)porting  the  walls  are 
declarative  of  strength — "In  strength  will  I  establish 
Mine  house."  The  three  towers  synd)oli/Ce  the  Divine 
Trinity  ;  the  s])ire,  siu-mounted  Ity  the  cross,  })oints  to 
heaven,  suggestive  of  that  love  which  lifts  us  u])  to  the 
heavenly  mansions;  the  turrets  arc  so  majjy  tiny  fingers 
pointhig  to  the  same  goal. 


Th 


Th( 
St.  IN 
it  is 
The 
diann 
th(^  aj 
4tS  I'e 
by  ail 


27 

Tlir  imivoi'so  is  llic  t('in])l('  of  (itnl;  tin*  vaulted  sky  is 
'ts  iloiiic  ;  trci'S  and  tlowcrs  luo  lis  dccovatioiis.  Tlu'  sun 
illnniinat<is  this  <j;i'('at  tcniplt',  with  its  p;(>l(h'n  h^dd  vo- 
veaHnf^  its  Ix'autv  aiid  jjilorv.  fn  inutatJMii  of  this  vast 
sanctuary,  they  p;;ivo  the  pillars  the  apiiearanco  of  Ix'iTig 
formed  by  hundh's  of  khmIs  ;  the  ])oint(.'d  arch  and 
ih)wiii<4  tracery  of  doors  and  windows  were  copied  from 
the.  foliag(!  of  trees,  and  the  decm-ations  represented 
tlowers.  Painted  windows  hit  in  the  mellow  light,  tinged 
with  gold  and  crimson,  while  the  swell  of  music  ri'ver- 
beratiiig  from  jiillar  to  arch,  overwhelmed  the  sens(>s, 
and  filled  the  soul  of  the  worshi]'er  with  holy  emotions. 

No  person  can  behold  those  grand  old  monuments  of 
Christian  Art  and  ent(M'prise  without  detecting  an  am- 
plitude of  symbolism,  and  without  ex])ericncing  an  eleva- 
tion of  moral  thought  and  sentiment,  "  set  free  tVom  ea)'th 
and  proceeding  unfettered  to  the  skies."  Among  the 
most  noted  of  thes(>  cdiiices  are  the  cathedrals  of  Florence 
and  Milan,  of  Cologne  and  Stiasbourg,  St.  Peter's  at 
Eome,  St.  Mark's  of  Venice,  Notre  Daiiu!  of  Puris,  and 
St.  Paul's  of  Ijondon— all  vast  in  proportions,  radiant 
with  gems  of  Art,  and  vocal  with  roligicms  symbolism, 
holding  u]i  their  pinnacles  to  heaven,  and  sheilding  their 
grandeur  upon  the  (>arth. 

The  gramh'st  and  most  ini]H)sing  of  tlu'S(>  temples  is 
St.  Peter's  at  Pome— built  in  the  form  of  a  (beck  eross ; 
it  is  (ib!  feet  long  by -I-K;  fret  through  the  trausce])ts. 
The  height  of  the  ci'iHng  in  the  nave  is  152  feet,  and  the 
diameter  of  the  dome  on  the  exterior  is  105  iwA,  while 
the  apex  of  the  dome  is  405  feet,  a)Kl  the  top  of  the  cross 
4-tS  feet  from  the  pavement —a  height  n(>ver  before  reached 
by  any  human  structure,  exco])ting  the  great  pyraniitl  of 


28 


T'^j^v])!.  It  covci's  iicnily  live  jiiid  ;i  liiill'  acres  of  p;roiui(l ; 
its  luavlilc  ))illais  , •111(1  aivlics  Hh-  gilded  canopy  covering 
tlic  altar;  its  ));iiiiti'tl  uiiulows  and  I'rcscoi'd  walls,  and, 
ul)ovc  all,  its  vastni>ss,  overwlu'lni  tlio  senses.  Miclnu^l 
Anj^'i'lo's  niag'niliccnt  conc(>]ition  of  its  grandeur  nniy  he 
inferred  from  liis  boast,  "that  ho  would  swing  the  d(»ni(! 
of  the  Paiithoon  in  th(>  air." 

As  ws  enter  this  colossal  temple  we  are  reniiiided  of 
the  words  of  the  poet — 

"  Eutor  ;  its  griuulfur  ovcrwliclins  thee  not. 
And  wliy  V  it  is  not  Icssoiiod  ;  but  tliy  niiiid 
Kxpiuulcd  l)y  tlio  genius  el'  the  sjint 
Iliis  gTown  c'olossid  ;  und  ciiu  oiUy  thid 
A  tit  idindo.  wherein  apiioiir  en.shriucd 
Tliy  hopes  of  immortality, " 

But  Art  has  a  wid(n-  sj)hero  of  operation  than  to  build 
tcnipl(>s  and  endow  theni  with  religious  symbols;  she  is 
a  jiriestess  in  the  great  temple  of  Nature  whose  dome  is 
the  sky,  avIiosc;  frescoes  ai'(!  the  ch.mds,  and  whosct  altars 
are  the  granite  nuMintains;  she  conducts  us  through  the 
aisles  of  this  ttMii]>le,  and  discloses  to  us  its  b(>auties  ; 
she  lights  the  lamps  of  taste,  imagination  and  desire  ;  she 
charms  us  with  music,  and  makes  us  delirious  with  joy, 
Avhether  she  works  u[)on  inanimate  stonc>,  cond)inos  colors 
uj^on  canvass,  directs  uncertain  and  fugitive  sounds,  or 
models  a  figure  hi  action  or  repos(^,  she  addresses  with 
mysterious  ]iower  the  imagination  and  the  soul.  In, the 
words  of  Cousin:  "  Evcny  work  of  Art,  wdiatever  bo  its 
\'<)V\n,  small  or  great,  figured,  sung,  or  uttinvul  —  every 
work  of  Alt  truh'  beautiful  or  sublime,  throws  tlu'  soul 
into  a  gentle  or  severe  reverie  that  elevates  it  toward  tho 
Inlhiite." 


